Sunday, 9 December 2012
Duncan Heining's review of Dialogues in two Places
Here's Duncan's 4 star review in Jazzwise:
Here are two masters of their art on astonishing form. The two long and one short improvisations on the first CD succeed in conveying a huge variety of
moods from quiet introspection to raucous, ecstatic exhilaration. Despite the absence of any visual stimulus, there's a palpable sense of time suspended, of breath bated and of
movement - sometimes slow and cautious, at others immediate and rapid. It feels as if one is in the audience hearing and observing the live performance. The second CD is more frenetic, in a good way, as six shorter pieces cross one's vision. Yet the music remains purposeful and resolute, as if a challenge has been thrown down and is being met with full force and authority.
Weston worked in Watts' Moire Music in the 1980s, the two have known each other for years and it shows. Watts is a remarkable, linear improviser with a powerful rhythmic sense and who benefits from musical partners who can follow agilely down the sometimes labyrinthine paths he may take. Weston does so admirably without ever losing his own sense of himself . It makes for an ideal partnership and music close to perfection.'
Here are two masters of their art on astonishing form. The two long and one short improvisations on the first CD succeed in conveying a huge variety of
moods from quiet introspection to raucous, ecstatic exhilaration. Despite the absence of any visual stimulus, there's a palpable sense of time suspended, of breath bated and of
movement - sometimes slow and cautious, at others immediate and rapid. It feels as if one is in the audience hearing and observing the live performance. The second CD is more frenetic, in a good way, as six shorter pieces cross one's vision. Yet the music remains purposeful and resolute, as if a challenge has been thrown down and is being met with full force and authority.
Weston worked in Watts' Moire Music in the 1980s, the two have known each other for years and it shows. Watts is a remarkable, linear improviser with a powerful rhythmic sense and who benefits from musical partners who can follow agilely down the sometimes labyrinthine paths he may take. Weston does so admirably without ever losing his own sense of himself . It makes for an ideal partnership and music close to perfection.'
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